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THE TURNPIKE ROAD GLAZE FORMULAS

WHITE SLIP
Silica
Cornwall Stone
Ball Clay
EPK




  35
  15
  10
  40
100


WHITE SLIP: There are lots of good formulae and this one has been good for me. It does not fully mature below c10, and drips can cause peeling if it is too thick




TENMOKU
Albany Slip
Apple Ash
Custer Feldspar
Red Art Clay
Gold Art Clay
Red Iron Oxide




  20
  15
  60
  20
    4
    3
123


TENMOKU has five sources of iron. While it has some Albany slip, it is basically a feldspathic/apple ash glaze, thus it does not run badly until above c14. If it is too transparent, you can decrease the apple ash, or increase the gold art clay.




WOOD ASH
Gold Art Clay
Hardwood Ash
Cornwall Stone
Custer Feldspar
Bentonite




  10
  40
  40
110
    4
204


Basically WOOD ASH is a transparent Karatsu Japan style glaze. It is called egaratsu in Japanese. On a triaxial chart, (feldspar/silica/wood ash) it is in the feldspar corner, with Cornwall Stone added to increase the silica, and wood ash to make it more transparent.


STRAW ASH
Hardwood Ash
Straw Ash
Flint
Custer Feldspar

Bentonite




  40
  20
  30
  30
120
    3%



STRAW ASH glaze is interesting for the possibilities of achieving color at high temperature. It is a high silica glaze, 1-2% rutile, powdered or fine granular gives yellow and orange. Copper gives tomato green at 5%. Cobalt gives deep blue at 5-8% with pink crystals when thick.



NANDA’S CELADON
Whiting
Flint
Custer Feldspar
Red Art Clay

Bentonite




  15
  20
  65
  12
112
    3%



NANDA’S CELADON is a glaze designed by a student many years ago. The interesting ingredient is the red art clay as a source of iron instead of red iron oxide. The glaze needs to be screened at 100 mesh to eliminate speckles. 12% red clay from anywhere will work.



HARA SHINO
Custer Feldspar
Whiting
EPK
Flint
Cornwall Stone




  60
  10
  10
  12
    8
100


HARA SHINO: This formula is from my first Japanese teacher, and it reflects the kind of Shino used in his native Kyoto, not the classic white/red/grey Shino Glazes.





SHINO
Nepheline Syenite
Spodumene
Ball Clay
EPK

Bentonite






  50
  20
  15
  10
  95
    3%





My SHINO glaze is adapted from Michael Cardew’s “Pioneer Pottery”. Go to Chapter 8: Glazes: Iron-red glaze.(Page 144 in my old paperback edition, 1973) Following Cardew, Nephelene Syenite has a good low alumina/silica ratio, and Spodumene and Lepidolite both have LiO, the only other possible flux, and suitable ratio to silica. Calcium will turn the glaze brown. The Ball Clay/EPK ration will adjust the possibility for crawling.



CHUN
Custer Feldspar
Flint
Wallistonite
Apple Ash
Magnetite

Bentonite











  56
  22
  13
    9
    2
102
    3%








A true CHUN Blue glaze is an optical color, not one derived from Cobalt. This is really an Iron blue using Magnetite as a colorant. My source is from an abandoned mine in the Adirondacks. It is a magnetic form of black iron oxide with a contamination of Illmanite. Wallistonite works better than Calcium in developing the color. Copper Carbonite mixed with a little glaze painted under this glaze will develop copper reds on porcelain in a good reduction firing.




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